2 parts in one volume, 4° (240 x 172mm). Engraved title, part title with woodcut publisher's device. Woodcut headpieces and initials. Ruled throughout in red. (Variable light spotting and browning, occasional inkmarking, some very light marginal dampstaining, title laid down, lower margin of title excised and re-margined, á2.3 reinforced at head of bifolium.)

A FINE PAINTED BINDING, probably of Genevan origin. As Hobson/Culot2 note, this binding draws on both moorish and arabic styles of decoration, and, whilst certain elements familiar from Parisian bindings are present, others are alien to that style; the design is far closer to that of bindings produced in Geneva (which, as a centre of religious reform, attracted French Protestants working in the printing and binding trades, such as Henri Estienne, in the latter part of the sixteenth century). Whilst aspects of French binding techniques were integrated into the vernacular work, a distinct style remained (developing, for example, the double-board technique, which permitted inset panels as a decorative device), and the unusual combination of black and silver paints -- which can be found on a copy of Novum Testamentum, (Geneva, 1565), bound by the Genevan King's Binder (cf. Foot, Davis Gift I, 16) -- is more typical of Genevan than French bindings. The rear free endpaper is watermarked close to the outside edge, a position which is typical of Genevan papers, and reinforces the probable attribution. Adams D-967; Brunet V, 98.